#tex thomson

[ufonaut]

Promotional art for The Golden Age (1993) four issue miniseries. Art by Paul Smith with colours by Richard Ory.

[nerds-yearbook]

The anthology comic Action Comics 2, cover date July 1938, was one of the rare issues of the series not to feature Superman on the cover. In this issue, he still was reporter in Cleveland, Ohio, as it had not been renamed Metropolis yet for the comics. He had still yet to battle a super powered villain. In this issue, he fought against a munitions magnate who was trying to start a war in San Monte. Superman took Emil Norvell to San Monte and forced him to enlist in the army and fight on the front lines. Lois Lane was also covering the conflict and got framed by Lola Cortez for espionage. Superman had to save her from a firing squad. Finally, Superman kidnapped the leaders of the two opposing armies and demanded they fight each other. It was learned that the generals didn't even know why they were fighting and decided to pursue peace instead. The issue marked the last appearance of Alex Greer. It was also the only appearance of Emil Norvell and Lola Cortez, created by Jerry Siegel and Joe Shuster. ("Superman: War in San Monte" "Scoop Scallion Five Star Reporter: The Shipwreck" "Pep Morgan: Glass Arm" "Elmer the Eel: Keep Off" "The Adventures of Marco Polo Part II" "Tex Thomson: The Sealed City Part I" "Inspector Donald and Bobby: Vindication" and "Chuck Dawson: The 4-G Gang Part II" "Zatara: The Haunted Farm" Action Comics 2, DC Comic Event)

[dorothydalmati1]

Looney Tunes/Merrie Melodies 1936 Episode 5: Page Miss Glory

Score by Harry Warren & Al Dubin

Directed by Tex Avery

Animated by Robert Cannon, Bob Clampett, Joe D'Igalo, Cal Dalton, A.C. Gamer, Ken Harris, Chuck Jones, Charles McKimson, Robert McKimson, Virgil Ross, Paul Smith, Sid Sutherland, Riley Thomson, Sandy Walker & Don Williams

Voice characterizations by Jackie Morrow, Berneice Hansell, Tex Avery & The Varsity Three

[onlylonelylatino]

Tex Thomson becomes  Mr. America by Bernard Baily

[docgold13]

365 DC Comics Paper Cut-Out SuperHeroes - One Hero, Every Day, All Year…

July 5th - Mr. America

Harry “Tex” Thomson had been an investigator in the years leading up to The United States’ entry into the Second World War.  After he was almost killed by a nazi saboteur, Tex decided to reinvent himself as a masked vigilante, defending the home front from the Axis Powers. He changed his appearance, dying his hair black, growing a mustache and then donned a patriotic uniform; calling himself ‘Mister America.’ 

His weapon of choice was a bullwhip that he wielded with expert precision. He thwarted many schemes by German and Japanese spies and was ultimately recruited as an enlisted operative of the Office of Strategic Services under the codename of the ‘Americommando.’ Later in the war Mr. America joined the ranks of All-Star Squadron. 

Mr. America continued to operate as a crimefighter following the war. He later went into semi-retirement and formed the ‘Hero Hotline.’ Years later, Thomson’s descendent, Trey Thompson, became the new Mr. America for a brief time before perishing in the line of duty. After that, Trey’s former partner took up the mantle and served briefly with the contemporary iteration of The Justice Society. Mr. America first appeared in the pages of Action Comics #1 (1938).

[script-a-world]

Do you have any existing examples of world building a future that's actually accurate and predictive of the future? Say, ones that have depicted the last 5 years with some accuracy but created over 15 years ago. Or perhaps some future ones that aren't extreme sci fi writing genetically modified humans with superpowers or time travel in the next 50 years.

Tex: The Simpsons sure did give things a go (Metro, Business Insider).

That said, I could throw out some arguments in the line of “100% predictions are plausibly from time-travellers and would skew the time-line, likely creating catastrophic effects on spacetime as we know it” or something, but that would very quickly derail your question.

More realistically, Star Trek did a damn good job on the technological front (The Portalist, Quartz), and their cultural impact has been so significant that there’s a wiki on it. In this instance, I would argue rather more that the genre of sci-fi in particular has inspired our current technological advances - when we have an idea posited to us, it no longer becomes “impossible”, merely “improbable”.

Humans have historically liked a good challenge (or on the flip-side, really dislike being told no), so I would say that eventually most sci-fi things are created by sheer stubbornness. A warp drive, for example, has been talked about since at least the 1960s, but we’re slowly getting there in terms of real-world development (ScienceAlert, Universe Today).

We might not have the superpowers thing down yet (though that might take some paradigm changes, re: quantum entanglement in the brain and related topics - let’s scale our expectations of a “superpower” gradually), but we do already have genetically modified humans. Germ-line therapies (also known as somatic gene therapy, ScienceDirect) have existed for a while, and have many ethical issues arising from it (SingularityHub, National Academy of Sciences).

I do my best to keep up with as many STEM fields as I can, but in the past decade we’ve had a boom in development - I think if you asked someone in 2000 what sort of scientific and technological developments would exist by 2020, a good half of them might be wrong due to the simple fact that many fields just didn’t exist.

Given how long it took us to posit the theory of cellphones (in 1917 by Finnish inventor Eric Tigerstedt), to how long the first commercially available mobile phone was sold (by Motorola in 1973) - never mind flip phones (first posited in 1964 by Star Trek: The Original Series, first seen in real life via the Motorola StarTAC in 1996) - I would challenge anyone to bring a concept from drawing board to production line within ten years and have it be a commercial success!

There’s approximately 46 listed fields of engineering in this wiki, the Bureau of Labor Statistics cites that seven out of ten of the largest STEM fields were computer related in 2017 - the first concept of the modern computer was by Alan Turing in 1937 (Wikipedia), the first realization of this concept was with the Ferranti Mark 1 in 1951 (Wikipedia), and the first mobile computer was the IBM 5100 in 1975 (Wikipedia) - between Alan Turing in 1937 and the job statistics of 2017, a full 80 years had passed. I won’t delve more into the details of things like the history of social media, the Dot-com bubble, or literally anything about the 2000s, but suffice to say:

Description: Exponential Growth in STEM? Articles Published Worldwide, 1900?2011. Source: SPHERE project database of SCIE publications (Thomson Reuters' Web of Science).

STEM is likely increasing at an exponential pace (ResearchGate). I don’t know whether this means we’ll see things like the Enterprise, a TARDIS, or even Spiderman within our lifetime, but I distinctly would not preclude their possibilities just because our literature and scientific experiments didn’t have a palatable success rate. We got cell phones and 3D printing! I’m sure humans might be able to see things like superpowered humans or time-travel eventually, if not in our lifetime.

Delta: I’d also recommend The Martian by Andy Weir if you haven’t read it. It’s not super advanced sci-fi, so I’m not sure if it’s exactly what you’re looking for, but it’s an extremely realistic look at near-future space travel and Mars missions (realistic in every way, that is, except for the privatization of the American space industry; Weir wrote publicly funded space travel, which is looking less and less likely to be the case).

Station Eleven, by Emily St. John Mandel, is less sci-fi and more apocalypse/dystopia fiction, but takes a realistic, hard look at how humanity would actually react to an apocalypse, and is disturbingly familiar in 2020 (the main plot is a pandemic, so read with caution). Similarly, Octavia Butler wrote a great deal of similar future dystopia fiction; I’m particularly thinking of Parable of the Sower (warnings for rape, violence, riots, looting, etc.).

Mary Doria Russel’s The Sparrow is another good one. The timeline is a bit outdated, things didn’t happen as quickly as she thought, but her ideas about everything from space travel in asteroids to continuing violence in the middle east are more or less shaping up the way she predicted. She also takes a realistic look at what “first contact” would actually be like, as well as the actual ramifications of relative time caused by space travel. (While Russel is herself Jewish, Roman Catholic Christianity plays a very important role both thematically and in the plot, so this won’t be everyone’s cup of proverbial tea).

(On a related note, the movie Arrival by director Dennis Villeneuve is another sci-fi story that’s a very realistic (if somewhat trippy) look at “first contact,” but is set in the present day, rather than the future, so it’s not necessarily what you’re looking for, but I think very highly of it because of its realism and creative restraint, so it felt worth a mention.)

[timeless-hollywood-classics]

Errol Leslie Thomson Flynn (20 June 1909 – 14 October 1959) was an Australian-born American actor during the Golden Age of Hollywood. Considered the natural successor to Douglas Fairbanks, he achieved worldwide fame for his romantic swashbuckler roles in Hollywood films, as well as frequent partnerships with Olivia de Havilland. He was best known for his role as Robin Hood in The Adventures of Robin Hood (1938); his portrayal of the character was named by the American Film Institute as the 18th-greatest hero in American film history. His other famous roles included the eponymous lead in Captain Blood (1935), Major Geoffrey Vickers in The Charge of the Light Brigade (1936), as well as the hero in a number of Westerns, such as Dodge City (1939), Santa Fe Trail (1940) and San Antonio (1945). Flynn also stirred controversy for his reputation as a womaniser and hedonistic personal life.

Errol Leslie Flynn was born on 20 June 1909 in Battery Point, a suburb of Hobart, Tasmania, Australia. His father, Theodore Thomson Flynn, was a lecturer (1909) and later professor (1911) of biology at the University of Tasmania. His mother was born Lily Mary Young, but shortly after marrying Theodore at St John's Church of England, Birchgrove, Sydney, on 23 January 1909, she changed her first name to Marelle. Flynn described his mother's family as "seafaring folk" and this appears to be where his lifelong interest in boats and the sea originated. Both of his parents were Australian-born of Irish, English and Scottish descent. Despite Flynn's claims, the evidence indicates that he was not descended from any of the Bounty mutineers.

Flynn received his early schooling in Hobart. He made one of his first appearances as a performer in 1918, aged nine, when he served as a page boy to Enid Lyons in a queen carnival. In her memoirs, Lyons recalled Flynn as "a dashing figure—a handsome boy of nine with a fearless, somewhat haughty expression, already showing that sang-froid for which he was later to become famous throughout the civilized world". She further noted: "Unfortunately Errol at the age of nine did not yet possess that magic for extracting money from the public which so distinguished his career as an actor. Our cause gained no apparent advantage from his presence in my entourage; we gained only third place in a field of seven."

From 1923 to 1925, Flynn attended the South West London College, a private boarding school in Barnes, London.

In 1926, he returned to Australia to attend Sydney Church of England Grammar School (known as "Shore"), where he was the classmate of a future Australian prime minister, John Gorton. His formal education ended with his expulsion from Shore for theft, although he later claimed it was for a sexual encounter with the school's laundress.

After being dismissed from a job as a junior clerk with a Sydney shipping company for pilfering petty cash, he went to Papua New Guinea at the age of eighteen, seeking his fortune in tobacco planting and metals mining. He spent the next five years oscillating between New Guinea and Sydney.

In January 1931, Flynn became engaged to Naomi Campbell-Dibbs, the youngest daughter of Robert and Emily Hamlyn (Brown) Campbell-Dibbs of Temora and Bowral, New South Wales. They did not marry.

Australian filmmaker Charles Chauvel was making a film about the mutiny on the Bounty, In the Wake of the Bounty (1933), a combination of dramatic re-enactments of the mutiny and a documentary on present-day Pitcairn Island. Chauvel was looking for someone to play the role of Fletcher Christian. There are different stories about the way Flynn was cast. According to one, Chauvel saw his picture in an article about a yacht wreck involving Flynn. The most popular account is that he was discovered by cast member John Warwick. The film was not a strong success at the box office, but Flynn’s was the lead role, and his fate was decided. In late 1933 he went to Britain to pursue a career in acting.

Flynn got work as an extra in a film, I Adore You (1933), produced by Irving Asher for Warner Bros. He soon secured a job with the Northampton Repertory Company at the town's Royal Theatre (now part of Royal & Derngate), where he worked and received his training as a professional actor for seven months. Northampton is home to an art-house cinema named after him, the Errol Flynn Filmhouse. He performed at the 1934 Malvern Festival and in Glasgow, and briefly in London's West End.

In 1934 Flynn was dismissed from Northampton Rep. after he threw a female stage manager down a stairwell. He returned to London. Asher cast him as the lead in Murder at Monte Carlo, a "quota quickie" made by Warner Brothers at their Teddington Studios in Middlesex. The movie was not widely seen (it is currently a lost film, but Asher was enthusiastic about Flynn's performance and cabled Warner Bros. in Hollywood, recommending him for a contract. Executives agreed, and Flynn was sent to Los Angeles.

On the ship from London, Flynn met (and eventually married) Lili Damita, an actress five years his senior whose contacts proved valuable when Flynn arrived in Los Angeles. Warner Bros. publicity described him as an "Irish leading man of the London stage."

His first appearance was a small role in The Case of the Curious Bride (1935). Flynn had two scenes, one as a corpse and one in flashback. His next part was slightly bigger, in Don't Bet on Blondes (1935), a B-picture screwball comedy.

Warner Bros. was preparing a big budget swashbuckler, Captain Blood (1935), based on the 1922 novel by Rafael Sabatini and directed by Michael Curtiz.

The studio originally intended to cast Robert Donat, but he turned down the part, afraid that his chronic asthma would make it impossible for him to perform the strenuous role.[19] Warners considered a number of other actors, including Leslie Howard and James Cagney, and also conducted screen tests of those they had under contract, like Flynn. The tests were impressive and Warners finally cast Flynn in the lead, opposite 19-year-old Olivia de Havilland. The resulting film was a magnificent success for the studio and gave birth to two new Hollywood stars and an on-screen partnership that would encompass eight films over six years. The budget for Captain Blood was $1.242 million, and it made $1.357 million in the U.S. and $1.733 million overseas, making a huge profit for Warner Bros.

Flynn had been selected to support Fredric March in Anthony Adverse (1936), but public response to Captain Blood was so enthusiastic that Warners instead reunited him with de Havilland and Curtiz in another adventure tale, this time set during the Crimean War, The Charge of the Light Brigade (1936). The film was given a slightly larger budget than Captain Blood, at $1.33 million, and it had a much higher box-office gross, earning $1.454 million in the US and $1.928 million overseas, making it Warner Bros.' No. 1 hit of 1936.

Flynn asked for a different kind of role and so when ill health made Leslie Howard drop out of the screen adaptation of Lloyd C. Douglas' inspirational novel, Flynn got the lead role in Green Light (1937), playing a doctor searching for a cure for Rocky Mountain Spotted Fever.[22] The studio then put him back into another swashbuckler, replacing Patric Knowles as Miles Hendon in The Prince and the Pauper (1937). He appeared opposite Kay Francis in Another Dawn (1937), a melodrama set in a mythical British desert colony. Warners then gave Flynn his first starring role in a modern comedy, The Perfect Specimen (1937), with Joan Blondell, under the direction of Curtiz. Meanwhile, Flynn published his first book, Beam Ends (1937), an autobiographical account of his experiences sailing around Australia as a youth. He also travelled to Spain, in 1937, as a war correspondent during the Spanish Civil War.

Flynn followed this with his most famous movie, The Adventures of Robin Hood (1938), playing the title role, opposite de Havilland's Marian. This movie was a global success. It was the 6th-top movie grosser of 1938.[25] It was also the studio's first large-budget color film utilizing the three-strip Technicolor process. The budget for Robin Hood was the highest ever for a Warner Bros. production up to that point—$2.47 million—but it more than made back its costs and turned a huge profit as it grossed $2.343 million in the U.S. and $2.495 million overseas.

It also received lavish praise from critics and became a worldwide favorite that has endured for generations. In 2019, Rotten Tomatoes summarizes the critical consensus: "Errol Flynn thrills as the legendary title character, and the film embodies the type of imaginative family adventure tailor-made for the silver screen." In 1995, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation by the National Film Registry.

The scene in which Robin climbs to Marian's window to steal a few words and a kiss has become as familiar to audiences as the balcony scene in Romeo and Juliet.[citation needed] Years later, in a 2005 interview, de Havilland described how, during the filming, she decided to tease Flynn, whose wife was on set and watching closely. De Havilland said, "And so we had one kissing scene, which I looked forward to with great delight. I remember I blew every take, at least six in a row, maybe seven, maybe eight, and we had to kiss all over again. And Errol Flynn got really rather uncomfortable, and he had, if I may say so, a little trouble with his tights."[30]

The final duel between Robin and Sir Guy of Gisbourne is a classic, echoing the battle on the beach in Captain Blood where Flynn also kills Rathbone's character after a long demonstration of fine swordplay, in that case choreographed by Ralph Faulkner. According to Faulkner's student, Tex Allen, “Faulkner had good material to work with. Veteran Basil Rathbone was a good fencer already, and Flynn, though new to the school of fence, was athletic and a quick learner. Under Faulkner's choreography Rathbone and Flynn made the swordplay look good. For the next two decades Faulkner's movie list as fencing double and choreographer reads as a history of Hollywood's golden years of adventure yarns [including Flynn's] The Sea Hawk (1940),[31]

The success of The Adventures of Robin Hood did little to convince the studio that their prize swashbuckler should be allowed to do other things, but Warners allowed Flynn to try a screwball comedy, Four's a Crowd (1938). Despite the presence of de Havilland and direction of Curtiz, it was not a success. The Sisters (1938) a drama showing the lives of three sisters in the years from 1904 to 1908, including a dramatic rendering of the 1906 San Francisco earthquake, was more popular. Flynn played alcoholic sports reporter Frank Medlin, who sweeps Louise Elliott ( Bette Davis) off her feet on a visit to Silver Bow, Montana. Their married life in San Francisco is difficult, an Frank sails to Singapore just hours before the catastrophe. The original ending of the film was the same as the book: Louise married a character named William Benson. But preview audiences disliked that ending, and a new one was filmed in which Frank comes to Silver Bow to find her and they reconcile. Apparently audiences wanted Errol Flynn to get the girl, or vice versa. (Bette Davis preferred the original ending.)

Flynn had a powerful dramatic role in The Dawn Patrol (1938), a remake of a pre-code 1930 drama of the same name about Royal Flying Corps fighter pilots in World War I and the devastating burden carried by officers who must send men out to die every morning. Flynn and co-stars Basil Rathbone and David Niven led a cast that was all male and predominantly British. Director Edmund Goulding's biographer Matthew Kennedy wrote: “Everyone remembered a set filled with fraternal good cheer.... The filming of Dawn Patrol was an unusual experience for everyone connected with it, and dissipated for all time the legend that Britishers are lacking in a sense of humor.... The picture was made to the accompaniment of more ribbing than Hollywood has ever witnessed. The setting for all this horseplay was the beautiful English manners of the cutterups. The expressions of polite and pained shock on the faces of Niven, Flynn, Rathbone et al., when (women) visitors were embarrassed was the best part of the nonsense.”

In 1939, Flynn and de Havilland teamed up with Curtiz for Dodge City (1939), the first Western for both of them, set after the American Civil War.[34] Flynn was worried that audiences would not accept him in Westerns, but the film was a big hit, Warner Bros.' most popular film of 1939, and he went on to make a number of movies in that genre.

Flynn was reunited with Davis, Curtiz and de Havilland in The Private Lives of Elizabeth and Essex (1939), playing Robert Devereux, 2nd Earl of Essex. Flynn's relationship with Davis during filming was quarrelsome; Davis allegedly slapped him across the face far harder than necessary during one scene. Flynn attributed her anger to unrequited romantic interest, but according to others, Davis resented sharing equal billing with a man she considered incapable of playing any role beyond a dashing adventurer. "He himself openly said, 'I don't know really anything about acting,'" she told an interviewer, "and I admire his honesty, because he's absolutely right." Years later, however, de Havilland said that, during a private screening of Elizabeth and Essex, an astounded Davis had exclaimed, "Damn it! The man could act!"

Warners put Flynn in another Western, Virginia City (1940), set near the end of the Civil War. Flynn played Union officer Kerry Bradford.

In an article for TCM, Jeremy Arnold wrote: "Ironically, the Randolph Scott role [as Captain Vance Irby, commandant of the prison camp where Bradford was a prisoner of war] was originally conceived for Flynn.... In fact, Virginia City was plagued with script, production and personnel problems all along. Shooting began without a finished script, angering Flynn, who complained unsuccessfully to the studio about it. Flynn disliked the temperamental Curtiz and tried to have him removed from the film. Curtiz didn't like Flynn (or costar Miriam Hopkins) either. And Humphrey Bogart apparently didn't care for Flynn or Randolph Scott! Making matters worse was the steady rain that fell for two of the three weeks of location shooting near Flagstaff, AZ. Flynn detested rain, and was physically unwell for quite some time because of it. As Peter Valenti has written, 'Errol's frustration at the role can be easily understood: he changed from antagonist to protagonist, from Southern to Northern officer, almost as the film was being shot. [This] intensified Errol's feelings of inadequacy as a performer and his contempt for studio operation.'" Despite the troubles behind the scenes, the film was a huge success, making a profit of just under $1 million.

Flynn’s next film had been planned since 1936: another swashbuckler taken from a Sabatini novel, The Sea Hawk (1940). However, in the end, only the title was used, and a completely different story was created.

A reviewer observed in Time Aug. 19, 1940, "The Sea Hawk (Warner) is 1940's lustiest assault on the double feature. It cost $1,700,000, exhibits Errol Flynn and 3,000 other cinemactors performing every imaginable feat of spectacular derring-do, and lasts two hours and seven minutes.... Produced by Warner's Hal Wallis with a splendor that would set parsimonious Queen Bess's teeth on edge, constructed of the most tried-&-true cinema materials available, The Sea Hawk is a handsome, shipshape picture. To Irish Cinemactor Errol Flynn, it gives the best swashbuckling role he has had since Captain Blood. For Hungarian Director Michael Curtiz, who took Flynn from bit-player ranks to make Captain Blood and has made nine pictures with him since, it should prove a high point in their profitable relationship." It was indeed: The Sea Hawk made a profit of $977,000 on that budget of $1.7 million.

Another financial success was the Western Santa Fe Trail (1940), with de Havilland and Ronald Reagan, and directed by Curtiz, which grossed $2,147,663 in the US, making it Warner Brothers' second-biggest hit of 1940.

In 1940, at the zenith of his career, Flynn was voted the fourteenth most popular star in the U.S. and the seventh most popular in Britain, according to Motion Picture Daily. According to Variety, he was the fourth-biggest star in the U.S. and the fourth-biggest box-office attraction overseas as well.

Flynn consistently ranked among Warner Bros.' top stars. In 1937, he was the studio's No. 1 star, ahead of Paul Muni and Bette Davis.[43] In 1938, he was No. 3, just behind Davis and Muni.[44] In 1939, he was No. 3 again, this time behind Davis and James Cagney.[45] In 1940 and 1941, he was Warner Bros.' No. 1 top box-office draw. In 1942, he was No. 2, behind Cagney. In 1943, he was No. 2, behind Humphrey Bogart.

Warners allowed Flynn a change of pace from a long string of period pieces in a lighthearted mystery, Footsteps in the Dark (1941). Los Angeles Times' Edwin Schallert wrote: "Errol Flynn becomes a modern for a change in a whodunit film and the excursion proves eminently worth-while... an exceptionally clever and amusing exhibit …" However, the film was not a big success. Far more popular was the military drama Dive Bomber (1941), his last film with Curtiz.

In later years, Footsteps in the Dark co-star Ralph Bellamy recalled Flynn at this time as "a darling. Couldn't or wouldn't take himself seriously. And he drank like there was no tomorrow. Had a bum ticker from the malaria he'd picked up in Australia. Also a spot of TB. Tried to enlist but flunked his medical, so he drank some more. Knew he wouldn't live into old age. He really had a ball in Footsteps in the Dark. He was so glad to be out of swashbucklers."

Flynn became a naturalized American citizen on 14 August 1942. With the United States fully involved in the Second World War, he attempted to enlist in the armed services but failed the physical exam due to recurrent malaria (contracted in New Guinea), a heart murmur, various venereal diseases and latent pulmonary tuberculosis.

Flynn was mocked by reporters and critics as a "draft dodger,” but the studio refused to admit that their star, promoted for his physical beauty and athleticism, had been disqualified due to health problems.

Flynn started a new long-term relationship with a director when he teamed with Raoul Walsh in They Died with Their Boots On (1942), a biopic of George Armstrong Custer. De Havilland was his co-star in this, the last of 12 films they made together. The movie grossed $2.55 million in the U.S. alone, making it Warner Bros.' second-biggest hit of 1942.

Flynn's first World War II film was Desperate Journey (1942), directed by Walsh, in which he played an Australian for the first time. It was another big hit.

The role of Gentleman Jim Corbett in Walsh's Gentleman Jim (1942) was one of Flynn’s favorites.[54] Warner Bros. purchased the rights to make a film of Corbett's life from his widow, Vera, specifically for their handsome, athletic and charming leading man.

The movie bears little resemblance to the boxer’s life, but the story was a crowd pleaser. Despite—or perhaps because of—its departure from reality, “Gentleman Jim” packed the theaters. According to Variety, it was the third Errol Flynn movie to gross at least $2 million for Warner Bros. in 1942.

Flynn eagerly undertook extensive boxing training for this film, working with Buster Wiles and Mushy Callahan. Callahan's remembrances were documented in Charles Higham's Errol Flynn: The Untold Story. "Errol tended to use his right fist. I had to teach him to use his left and to move very fast on his feet...Luckily he had excellent footwork, he was dodgy, he could duck faster then anybody I saw. And by the time I was through with him, he'd jab, jab, jab with his left like a veteran."

Flynn took the role seriously, and was rarely doubled during the boxing sequences. In The Two Lives of Errol Flynn by Michael Freedland, Alexis Smith told of taking the star aside: "'It's so silly, working all day and then playing all night and dissipating yourself. Don't you want to live a long life?' Errol was his usually apparently unconcerned self: 'I'm only interested in this half,' he told her. 'I don't care for the future.'"

In fact, Flynn collapsed on set on July 15, 1942, while filming a boxing scene with Ward Bond. Filming was shut down while he recovered; he returned a week later. In his autobiography, My Wicked, Wicked Ways, Flynn describes the episode as a mild heart attack.

In September 1942, Warners announced that Flynn had signed a new contract with the studio for four films a year, one of which he would also produce.

In Edge of Darkness (1943), set in Nazi-occupied Norway, Flynn played a Norwegian resistance fighter, a role originally intended for Edward G. Robinson. Director Lewis Milestone later recalled, "Flynn kept underrating himself. If you wanted to embarrass him, all you had to do was to tell him how great he was in a scene he'd just finished playing: He'd blush like a young girl and muttering 'I'm no actor' would go away somewhere and sit down."[63] With a box office gross of $2.3 million in the U.S, it was Warner Bros.' eighth biggest movie of the year.

In Warners' all-star musical comedy fund-raiser for the Stage Door Canteen, Thank Your Lucky Stars (1943), Flynn sings and dances as a cockney seaman boasting to his pub mates of how he's won the war in "That's What You Jolly Well Get," the only musical number that was ever performed by Flynn on screen.

In late 1942, two 17-year-old girls, Betty Hansen and Peggy Satterlee, separately accused Flynn of statutory rape at the Bel Air home of Flynn's friend Frederick McEvoy, and on board Flynn's yacht Sirocco, respectively. The scandal received immense press attention. Many of Flynn's fans founded organizations to publicly protest the accusation. One such group, the American Boys' Club for the Defense of Errol Flynn—ABCDEF—accumulated a substantial membership that included William F. Buckley Jr.

The trial took place in late January and early February 1943. Flynn's attorney, Jerry Giesler, impugned the accusers' character and morals, and accused them of numerous indiscretions, including affairs with married men and, in Satterlee's case, an abortion (which was illegal at the time). He noted that the two girls, who said they did not know each other, filed their complaints within days of each other, although the episodes allegedly took place more than a year apart. He implied that the girls had cooperated with prosecutors in hopes of avoiding prosecution themselves. Flynn was acquitted, but the trial's widespread coverage and lurid overtones permanently damaged his carefully cultivated screen image as an idealized romantic leading player.

Northern Pursuit (1943), also with Walsh as director, was a war film set in Canada. He then made a film for his own production company, Thomson Productions, where he had a say in the choice of vehicle, director and cast, plus a portion of the profits. This picture had a modest gross of $1.5 million. Uncertain Glory (1944) was a war-time drama set in France with Flynn as a criminal who redeems himself. However, it was not a success and Thomson Productions made no more movies. In 1943, Flynn earned $175,000.

With Walsh he made Objective, Burma! in 1944, released in 1945, a war film set during the Burma Campaign. Although popular, it was withdrawn in Britain after protests that the role played by British troops was not given sufficient credit. A Western, San Antonio (1945), was also very popular, grossing $3.553 million in the U.S. and was Warner Bros.' third-biggest hit of the year.

Flynn tried comedy again with Never Say Goodbye (1946), a comedy of remarriage opposite Eleanor Parker, but it was not a success, grossing $1.77 million in the U.S. In 1946, Flynn published an adventure novel, Showdown, and earned a reported $184,000 (equivalent to $2,410,000 in 2019).

Cry Wolf (1947) was a thriller with Flynn in a seemingly more villainous role. It was a moderate success at the box office. He was in a melodrama, Escape Me Never (1947), filmed in early 1946 but not released until late 1947, which lost money. More popular was a Western with Walsh and Ann Sheridan, Silver River (1948). This was a hit, although its high cost meant it was not very profitable. Flynn drank so heavily on the set that he was effectively disabled after noon, and a disgusted Walsh terminated their business relationship.

Warners tried returning Flynn to swashbucklers and the result was Adventures of Don Juan (1948). The film was very successful in Europe, grossing $3.1 million, but less so in the U.S., with $1.9, and struggled to recoup its large budget. Still, it was Warner Bros.' 4th-biggest hit of the year. From this point on, Warner Bros. reduced the budgets of Flynn's films. In November 1947 Flynn signed a 15-year contract with Warner Bros. for $225,000 per film. His income totaled $214,000 that year, and $200,000 in 1948.

After a cameo in Warner Bros.' It's a Great Feeling (1949), Flynn was borrowed by Metro-Goldwyn-Mayer to appear in That Forsyte Woman (1949) which made $1.855 million in the U.S. and $1.842 million abroad which was the 11th-biggest hit of the year for MGM. He went on a three-month holiday then made two medium budget Westerns for Warners, Montana (1950), which made $2.1 million and was Warner Bros.' 5th-biggest movie of the year, and Rocky Mountain (1950), which made $1.7 million in the U.S. and was Warner Bros.' 9th-biggest movie of the year. He returned to MGM for Kim (1950), one of Flynn's most popular movies from this period, grossing $5.348 million ($2.896 million in the U.S. plus $2.452 million abroad) making it MGM's 5th-biggest movie of the year and 11th biggest overall for Hollywood. It was shot partly in India. On his way home he shot some scenes for a film he produced, Hello God (1951), directed by William Marshall; it was never released. For many years this was considered a lost film, but in 2013 a copy was discovered in the basement of the surrogate court of New York City. Two of seven cans of the movie had deteriorated beyond hope, but five survived and are at the George Eastman House film archive for restoration.

Flynn wrote and co-produced his next film, the low-budget Adventures of Captain Fabian (1951), directed by Marshall and shot in France. (Flynn wrote articles, novels and scripts but never had the discipline to turn it into a full time career. Flynn wound up suing Marshall in court over both movies.

For Warners he appeared in an adventure tale set in the Philippines, Mara Maru (1952). That studio released a documentary of a 1946 voyage he had taken on his yacht, Cruise of the Zaca (1952). In August 1951 he signed a one-picture deal to make a movie for Universal, in exchange for a percentage of the profits: this was Against All Flags (1952), a popular swashbuckler. As early as 1952 he had been seriously ill with hepatitis resulting in liver damage.[80] In England, he made another swashbuckler for Warners, The Master of Ballantrae (1953). After that Warners ended their contract with him and their association that had lasted for 18 years and 35 films.

Flynn relocated his career to Europe. He made a swashbuckler in Italy, Crossed Swords (1954). This inspired him to produce a similar movie in that country, The Story of William Tell (1954), directed by Jack Cardiff with Flynn in the title role. The movie fell apart during production and ruined Flynn financially. Desperate for money, he accepted an offer from Herbert Wilcox to support Anna Neagle in a British musical, Lilacs in the Spring (1954). Also shot in Britain was The Dark Avenger (1955), for Allied Artists, in which Flynn played Edward, the Black Prince. Wilcox used him with Neagle again, in King's Rhapsody (1955), but it was not a success, ending plans for further Wilcox-Flynn collaborations. In 1956 he presented and sometimes performed in the television anthology series The Errol Flynn Theatre that was filmed in Britain.

Flynn received an offer to make his first Hollywood film in five years: Istanbul (1957), for Universal. He made a thriller shot in Cuba, The Big Boodle (1957), then had his best role in a long time in the blockbuster The Sun Also Rises (1957) for producer Darryl F. Zanuck which made $3 million in the U.S.

Flynn's performance in the latter was well received and led to a series of roles where he played drunks. Warner Bros. cast him as John Barrymore in Too Much, Too Soon (1958), and Zanuck used him again in The Roots of Heaven which made $3 million (1958). He met with Stanley Kubrick to discuss a role in Lolita, but nothing came of it.

Flynn went to Cuba in late 1958 to film the self-produced B film Cuban Rebel Girls, where he met Fidel Castro and was initially an enthusiastic supporter of the Cuban Revolution. He wrote a series of newspaper and magazine articles for the New York Journal American and other publications documenting his time in Cuba with Castro. Flynn was the only journalist who happened to be with Castro the night Batista fled the country and Castro learned of his victory in the revolution. Many of these pieces were lost until 2009, when they were rediscovered in a collection at the University of Texas at Austin's Center for American History. He narrated a short film titled Cuban Story: The Truth About Fidel Castro Revolution (1959), his last-known work as an actor.

Flynn developed a reputation for womanising, hard drinking, chain smoking and, for a time in the 1940s, narcotics abuse. He was linked romantically with Lupe Vélez, Marlene Dietrich and Dolores del Río, among many others. Carole Lombard is said to have resisted his advances, but invited him to her extravagant parties. He was a regular attendee of William Randolph Hearst's equally lavish affairs at Hearst Castle, though he was once asked to leave after becoming excessively intoxicated.

The expression "in like Flynn" is said to have been coined to refer to the supreme ease with which he reputedly seduced women, but its origin is disputed. Flynn was reportedly fond of the expression and later claimed that he wanted to call his memoir In Like Me. (The publisher insisted on a more tasteful title, My Wicked, Wicked Ways.

Flynn had various mirrors and hiding places constructed inside his mansion, including an overhead trapdoor above a guest bedroom for surreptitious viewing. Rolling Stones guitarist Ron Wood toured the house as a prospective buyer in the 1970s, and reported, "Errol had two-way mirrors... speaker systems in the ladies' room. Not for security. Just that he was an A-1 voyeur." In March 1955, the popular Hollywood gossip magazine Confidential ran a salacious article titled "The Greatest Show in Town... Errol Flynn and His Two-Way Mirror!" In her 1966 biography, actress Hedy Lamarr wrote, "Many of the bathrooms have peepholes or ceilings with squares of opaque glass through which you can't see out but someone can see in."

He had a Schnauzer dog, named Arno, which was specially trained to protect Flynn. They went together to premieres, parties, restaurants and clubs, until the dog's death in 1941. On 15 June 1938 Arno badly bit Bette Davis on the ankle in a scene where she struck Flynn.

Flynn was married three times: to actress Lili Damita from 1935 until 1942 (one son, Sean Flynn, 1941 – c. June 1971); to Nora Eddington from 1943 to 1949 (two daughters, Deirdre, born 1945, and Rory, born 1947); and to actress Patrice Wymore from 1950 until his death (one daughter, Arnella Roma, 1953–1998). Errol is the grandfather to actor Sean Flynn (via Rory), who starred in Zoey 101.

While Flynn acknowledged his personal attraction to Olivia de Havilland, assertions by film historians that they were romantically involved during the filming of Robin Hood[97] were denied by de Havilland. "Yes, we did fall in love and I believe that this is evident in the screen chemistry between us," she told an interviewer in 2009. "But his circumstances [Flynn's marriage to Damita] at the time prevented the relationship going further. I have not talked about it a great deal but the relationship was not consummated. Chemistry was there though. It was there."

After quitting Hollywood, Flynn lived with Wymore in Port Antonio, Jamaica in the early 1950s. He was largely responsible for developing tourism to this area and for a while owned the Titchfield Hotel which was decorated by the artist Olga Lehmann. He popularised trips down rivers on bamboo rafts.

His only son, Sean (born 31 May 1941), was an actor and war correspondent. He and his colleague Dana Stone disappeared in Cambodia in April 1970 during the Vietnam War, while both were working as freelance photojournalists for Time magazine. Neither man's body has ever been found; it is generally assumed that they were killed by Khmer Rouge guerrillas in 1970 or 1971.

After a decade-long search financed by his mother, Sean was officially declared dead in 1984. Sean's life is recounted in the book Inherited Risk: Errol and Sean Flynn in Hollywood and Vietnam.

By 1959, Flynn's financial difficulties had become so serious that he flew to Vancouver, British Columbia on 9 October to negotiate the lease of his yacht Zaca to the businessman George Caldough. As Caldough was driving Flynn and the 17-year-old actress Beverly Aadland, who had accompanied him on the trip, to the airport on 14 October for a Los Angeles-bound flight, Flynn began complaining of severe pain in his back and legs. Caldough transported him to the residence of a doctor, Grant Gould, who noted that Flynn had considerable difficulty navigating the building's stairway. Gould, assuming that the pain was due to degenerative disc disease and spinal osteoarthritis, administered 50 milligrams of demerol intravenously. As Flynn's discomfort diminished, he "reminisced at great length about his past experiences" to those present. He refused a drink when offered it.

Gould then performed a leg massage in the apartment's bedroom and advised Flynn to rest there before resuming his journey. Flynn responded that he felt "ever so much better." After 20 minutes Aadland checked on Flynn and discovered him unresponsive. Despite immediate emergency medical treatment from Gould and a swift transferral by ambulance to Vancouver General Hospital, he did not regain consciousness and was pronounced dead that evening. The coroner's report and the death certificate noted the cause of death as myocardial infarction due to coronary thrombosis and coronary atherosclerosis, with fatty degeneration of liver and portal cirrhosis of the liver significant enough to be listed as contributing factors. Flynn was survived by both his parents.

Flynn was buried at Forest Lawn Memorial Park Cemetery in Glendale, California, a place he once remarked that he hated.

[ufonaut]

Like the song says, I’ll be back when it’s over-- over there!

Tex Thomson in Secret Origins (1986) #29

(Roy Thomas, Mike Harris)

[nerds-yearbook]

The costumed super hero craze began with the introduction of Superman in the anthology comic Action Comics 1# in 1938 with a cover date of June. Superman was created by Jerry Siegel and Joe Shuster. Clark Kent was a reporter with the Daily Star in Cleveland, Ohio, who was secretly an alien known as Superman from the doomed planet Krypton. The issue also introduced his fellow reporter and future love Lois Lane. ("Supeman: Champion of the Opressed", "Chuck Dawson: The 4-G Gang pt 1", "Zatara: The Mystery of the Frieght Train Robberies", "Sticky-Mitt Stimson", "The Adventures of Marco Polo pt 1", "Pep Morgan: The Light Heavyweight Championship", "Scoop Scanlon: The International Jewel Thief", "Tex Thomson: Muder in England", Action Comics 1#, DC Comics, Event)

[onlylonelylatino]

First appearance of Tex Thomson by Bernard Baily

[opedguy]

Democrat Bullying in Congress Grows

LOS ANGELES (OnlineColumnist.com), Jan. 14, 2021.--Calls to censure or expel Republican Senators that asked for more scrutiny Jan. 6 of the Nov. 3, 2020 election have been met with un-American behavior by Democrat lawmakers.  Sen. Ted Cruz (R-Tex.), 50, who called on his Senate colleagues to open up a 10-day inquiry into the Nov. 3 election was shouted down by the opposition, now blaming Cruz for inciting the Jan. 6 riot with hundreds of Trump supporters storming and Capitol and defacing public property.  But when Cruz’s called for a 10-day commission to investigate election fraud, his Democrat Senate colleagues accused the two-term Texas Senator of aiding-and-abetting lawbreakers.  Cruz’s communication director Lauren Blair Bianchi resigned in response to Cruz’s opposition to the 2020 election results, certifying 78-year-old President-elect Joe Biden as winner of the Electoral College vote.  What Bianchi objected to is anyone’s guess.    

         Since taking the majority in the U.S. Senate Jan. 5, Democrats have taken a more aggressive stance, showing the kind of intolerance for Republicans not seen before.  Democrats have shouted their Republicans down, accusing them of interfering with the Jan. 6 Electoral College vote if they harbored any thoughts that the Nov. 3 election could have been riddled with irregularities.  Never before since the first U.S. election Dec. 15, 1788 between George Washington and John Adams, has every U.S. eligible voter received a ballot by mail. Nonpartisan election experts acknowledge that it’s the first time in U.S. history that universal mail-in ballots were used.  Voting irregularities were seen in many states accommodating universal mail-in ballots, especially in the so-called battleground states. Yet Democrats insist that any Republican that questions the Nov. 3 results is un-American, practically treasonous.      

        Calls by Democrat senators to oust Cruz, Sen. Ron Johnson (R-Wis.) and Sen. Josh Hawley (R-Mo.) are outrageous, doing nothing other that mirror the views of their constituents to investigate the Nov. 3 election results.  Cruz’s former communication director Bianchi said she wasn’t comfortable “moving in the direct that she was not comfortable with,” suggesting that her boss, Ted Cruz, had no right to question the Electoral Vote counts of key battleground states. Democrats have preached that questioning the election was un-American, an affront to American democracy.  Can you imagine investigating potential voting irregularities is now considered un-American?  What could be more democratic than opening up debate on a national election.  No Democrat elected leader can say with 100% certainty that the 2020 election with universal mail-in ballots was fair-and-legitimate.     

        Democrat senators have gone over the top bullying Republicans that dared to challenge the Electoral College vote.  “Sen. Patty Murray (D-Wa.), Sen. Chris Coons (D-Del.), Sen. Sherrod Brown (D-Ohio) and Sheldon Whitehouse (D-R.I.) all called for Cruz and Hawley’s censure and eviction from the U.S. Senate.  What did Cruz and Hawley do wrong asking for a 10-day investigation into the Nov. 3 election, rather that rubber stamping the results.  Murray, Coons, Brown and Whitehouse all want Cruz and Hawley censured or kicked out the Senate for asking to have the results assessed.  “More and more Democratic caucus members are willing to vote yes on a censure resolution,” one unnamed aid told the Hill newspaper.  Whitehouse, who support censuring Cruz and Hawley, said both senators should be banned from any committee assignment that investigates the Jan. 6 Capitol rot.    

         White House has taken bullying of his Senate colleagues to a new level.  “The Senate Ethics Committee also must consider expulsions, or censure and punishment, of Senators, Cruz, Hawley and perhaps others,” Whitehouse said.  Whitehouse has crossed a dangerous line when open debate and dissent is not tolerated in the U.S. Senate.  “Because Congress has protections from the Department of Justice under separation of power, specifically the Speech and Debate Clause, significant investigation will need to be done in the Senate.  Because of massive potential conflict of interest, Senators Cruz, Hawley and Johnson [at least] need to be off all relevant committees,” Whitehouse said.  If Whitehous and other Democrat senators show such intolerance, it’s going to create a Battle Royale in the U.S. Senate. Threatening senators with censure and expulsion is no way to bipartisanship.   

          Taking their rage out on 74-year-old President Donald Trump over the Jan. 6 Capitol riot, the House has weaponized its Article 1 authority impeaching the president for the second time.  Cruz, Hawley and Johnson did nothing wrong asking for a 10-day investigation into the Nov. 3 election.  Threatening censure or worse yet expulsion exposes intolerable bullying now that Democrats have taken over the majority in the U.S. Senate.  Rep. Bernie Thomson (D-Miss.), chairman of the Homeland Security Committee, went a step further, asking that Cruz, Hawley and Johnson put on a no-fly list.  What crime did Cruz, Hawley and Johnson commit?  Asking for a 10-day investigation of the Nov. 3 election?  Democrats in the House and Senate are acting drunk with power, now that Biden’s won the Nov. 3 election.  If Democrats want more strife, they’ll continue the bullying.

 About the Author

 John M. Curtis writes politically neutral commentary analyzing spin in national and global news. He’s editor of OnlineColumnist.com and author of Dodging The Bullet and Operation Charisma.  Reply  Reply All  Forward

[wikitopx]

A well-rounded city growing out of the stark North Texas prairie, Dallas has a jumble of ultramodern skyscrapers, the largest arts district in the United States, museums of the highest quality and pulsating nightlife.

Whole swathes of the city have been reinvented in recent times, like the Design District breathing new life into an austere neighborhood of warehouses, or Klyde Warren Park, on the former route of a freeway. But if you’re hunting for old-time Texas trademarks like big steaks, BBQ and honkytonks among the upscale restaurants and high-culture, you’ll find them with little trouble. Dallas will also forever be tied to the assassination of John F. Kennedy in 1963, and at Dealey Plaza, you’ll discover how the city has come to terms with this tragedy. Let’s explore the best things to do in Dallas.

[toc]

1. John F. Kennedy Memorial Plaza

The John F. Kennedy Memorial Building was opened in June 1970, next to the red sandstone towers of the Dallas County Courthouse. The monument at its core was designed by architect Philip Johnson, a friend of the Kennedy family, and was personally approved by Jacqueline Kennedy.

Formed to represent the freedom of John F. Kennedy, the memorial consists of a square room without a roof, with concrete walls of 15 x 15 meters long and 9 meters high. These walls are composed of 72 concrete columns, supported by two legs at each corner and so appearing to hover over the ground when illuminated at night.

Inside the room is a square of granite carved with the name JFK, painted in gold to catch light from the walls.

2. Meadows Museum

The oil baron Algur Meadows (1899–1978) made repeated trips to Madrid in the 1950s, and in that time he fell in love with Spanish art at the Museo del Prado, determined to create his own Prado on his prairie in Dallas.

This became the Meadows Museum at the Southern Methodist University campus, home to one of the largest assemblages of Spanish art outside of Spain.

The art here dates from the 900s to the present, comprising Renaissance altarpieces, massive Baroque canvases, liturgical polychrome images, graphic art, Impressionist landscapes, abstract painting, sketches, and sculpture.

Among the many great artists featured are Velázquez, El Greco, Murillo, Ribera, Zurbarán, Goya (six works), Sorolla, Rodin, Picasso, Dalí, Miró, Henry Moore and Giacometti. In 2019-20 there were great short-term exhibitions for Sorolla and the great Spanish Renaissance sculptor Alonso Berruguete.

3. Deep Ellum

If you’re out for live music, great food, awesome bars or one-off shops then Deep Ellum is the place to go, just on the other side of the I-345 from Downtown Dallas. This has been an entertainment district since the 1880s, and blues legends like Leadbelly, Bessie Smith and Blind Lemon Jefferson all entertained the crowds in the 1910s and 1920s.

The name comes from the neighborhood’s main artery, Elm Street and crops up in the old blues song Take a Whiff on Me, and the song “Deep Elm Blues”, made famous by the Grateful Dead. The lineup of clubs and live venues is too long to list here but features Trees Dallas, played by Radiohead, Nirvana, Arcade Fire, and Pearl Jam.

For concept bars, you’ve got a slew of craft breweries/distilleries, and the trailer park themed Double Wide. By day you can check out the street art and pick from ramen (Oni), tacos (Tiki Loco), sushi (Nori) or southern comfort food (Brick & Bones, Get Fried) for lunch.

4. Dallas Zoo

Across the Trinity River from Downtown Dallas, the Dallas Zoo will be a valuable family outing even without its greatest appeal. But the Giants of the Savanna habitat is not something you’ll come across very often.

This $32.5-million habitat, unveiled in 2011 has reticulated giraffes, zebras, impala, ostriches and guinea fowl sharing the same large space. In the same zone is the zoo’s herd of African elephants, as well as African lions, South African cheetahs, warthogs, and African wild dogs.

The Gorilla Research Center, opened in 1990, is another feather in the Dallas Zoo’s cap, a lush recreation of the Congo Rainforest, with enough space for two troops of gorillas, each separated by a wall.

The Wilds of Africa Adventure Safari takes you on a 20-minute, mile-long narrated monorail ride past hippos, okapis, Grévy’s zebra, Thomson’s gazelle’s and some giant birds, from great white pelicans to Goliath herons.

5. Dallas World Aquarium

In the West End Historical Area, this aquarium in a warehouse remake from 1924 is not just fish. Mundo Maya keeps ocelots, American flamingos and a variety of colorful passerine birds and owls to go with its vibrant angelfish and axolotls.

The upper floor is taken over by a reproduction of the Orinoco Rainforest, inhabited by sloths, giant river otters and primates like pygmy marmosets and red howler monkeys, as well as dwarf caimans, poison dart frogs, toucans, matamata turtles, and electric eels.

The ten main tanks are on the lower level, where you’ll come within inches of aquatic life from all over the world from giant Japanese spider crabs to brilliant Percula clownfish, tangs, angelfish, butterflyfish and moon jellyfish.

Outside the South African exhibition holds a flock of mischievous black-footed penguins, only 50,000 in the wild.

6. Pioneer Plaza

The city’s rugged early days are remembered at this park laid out in 1994 in front of the Kay Bailey Hutchison Convention Center, just south of downtown.

Rendered in bronze by artist Robert Summers is a marvelous sculpted ensemble – the largest bronze monument in the world – depicting an everyday scene on the old Shawnee Trail.

Crossing the plaza are 49 longhorn steers and three trail riders on horseback, all in an environment of ridges and cliffs, planted with trees and plants native to North Texas, a flowing stream and waterfall. Each steering wheel is slightly larger than life, just under two meters tall.

7. Fair Park

This 277-acre outdoor complex located on the right shoulder of Downtown Dallas has a history like a fairground dating back to 1886. Space was transformed to lift the spirits during the Great Depression when Dallas hosted Trade.

Fair of Texas in 1936. Architects George Dahl and Paul Cret turned Fair Park into a wonderful exhibition of Art Deco design. Plenty of the attractions on this list can be found right here, and the park holds more than 1,200 events a year, from concerts to sporting events.

For 24 days from the last Friday of September, this is the venue for the Texas State Fair, attended by over two million people each year and presided over by iconic Big Tex. One of the main events is the annual college football game between Oklahoma Sooners and Texas Longhorns, at the 92,100-capacity Cotton Bowl.

A centerpiece during the fair is the Texas Star, a Ferris wheel 65.8 meters tall, with 44 gondolas.

8. Hall of State

Fair Park's headquarters, the State Hall of the Arts, is a formidable venue, even when the exterior is showing its age. There are few better examples of Art Deco architecture in Texas, and it’s bewildering to think that this regal edifice got built in the depths of the Great Depression.

What draws your eye outside is the semicircular recess at the entrance, with limestone pillars rising 23 meters dividing bands of blue tiles evoking the state flower, the bluebonnet. On the frieze are the names of 60 historical figures with an important role in Texas history.

The monument has belonged to the Dallas Historical Society since 1938 and its radiant interior holds the Hero Hall, with six bronze statues symbolizing Stephen F. Austin, Thomas Jefferson Rusk, Mirabeau B. Lamar, Sam Houston, James Fannin, and William B Travis. At the Texas State Fair 2019, there was a great exhibition of the state's history in cinema.

9. Children’s Aquarium at Fair Park

This compact yet never-popular aquarium opened with the hundredth Texas Exhibition in 1936 but got a modern makeover in 2009.

There are six main exhibits at the Children’s Aquarium: Freshwater Zone, with red-bellied piranhas and Australian rainbows; Intertidal Zone, for sea stars and sea urchins; Shore Zone, inhabited by seahorses, batfish and home to a Caribbean reef; Near Shore Zone, which has Moray eels, clownfish and porcupinefish, and the Offshore Zone, where you’ll see the ominous-looking Queensland groupers and zebra sharks.

Lastly, the outdoor Stingray Bay is everyone's favorite part, where you can touch and show rays and watch black reef sharks in a large outdoor tank.

10. Frontiers of Flight Museum

Head to Dallas Love Field Airport to be awed by this Smithsonian Affiliate museum in the airport’s south-east corner. The Frontiers of Flight Museum has more than 30 aircraft and space vehicles on show, a portion of which were built in the North Texas area.

There are also 13 galleries and exhibits to ponder, including artifacts from the Hindenburg, lots of detail about aviators like Charles Lindbergh and Amelia Earhart, and a full-size model of the Wright Brothers’ 1903 Wright Flyer.

As for preserved aircraft, make sure to see Apollo VII, used for the first manned flight of the Apollo Space Program in 1968.

Also indispensable is the last surviving Texas-Temple Sportsman monoplane (1928), a de Havilland Tiger Moth (1940), a Bell 47 (of M*A*S*H fame) and jet fighters and bombers including an F-16b (1977), and LTV A-7 Corsair II (1967), a Republic F-105D (1958) and a Lockheed T-33A Shooting Star (1950).

More ideals for you: Top 10 things to do in Phuket – top 10 bars

From : https://wikitopx.com/travel/top-10-things-to-do-in-dallas-704428.html

[abrcapfinancial-blog]

$AOSL 2018-08-27 : Transcripts- Edited Transcript of AOSL earnings conference call

$AOSL 2018-08-27 : Transcripts- Edited Transcript of AOSL earnings conference call

[s2If !current_user_can(access_s2member_level0)] Please login to read the transcript. [lwa] [/s2If][s2If current_user_can(access_s2member_level0)]”

Q4 2018 Alpha and Omega Semiconductor Ltd Earnings Call

SUNNYVALE Aug 28, 2018 (Thomson StreetEvents) — Edited Transcript of Alpha and Omega Semiconductor Ltd earnings conference call or presentation Wednesday, August 8, 2018 at 9:00:00pm GMT

TEX…

[ufonaut]

As Tex soon finds out, it’s hard to say not to a guy like Bob Daley... and so, an unlikely team is born.

Tex Thomson & Bob Daley in Secret Origins (1986) #29

(Roy Thomas, Mike Harris)